As we enter the theatre, we are handed a paper titled “Titanic Bingo” with squares such as “A Palmy Reference”, “A Terrible Pun”, and “Dan is Naughty”, setting the scene for a gameshow-inspired romp through a well-known story, filled with campy characters, a mile-a-minute jokes and audience participation. I am ready for some melodramatic, fast-paced, campy comedy.

Part game-show theatre hybrid, this experience is one not to be missed. We are divided into First Class, Second Class and Steerage and told “this is not just a show, it’s a competition.” The relationship between audience and actor is really alive in this show. We are encouraged to give input and steer the action on stage, even volunteer to take part in game-showesque tasks. The rivalry between the groups fuels the actors on stage through cheers, reactions and even booing when the other teams get points – which is met by laughter from the actors – allowing all parties to feed off each other’s energy.

The set, constructed by Harvey Taylor, is impactful and functional, depicting an image of the Titanic, with two bays to hide the multitude of props that are needed in performance. The actors use simple DIY props and recognisable wigs to recreate the iconic scenes and characters, allowing for quick changes and maximum laughs. It banks on the audience knowing the story already and uses that to ham up the scenes, allowing for the action to be fast and dynamic.

Moustaches on sticks, cleaning products and a paper plate face taped onto a broom are just some of the props used to represent characters, meaning they can be passed along and quickly switched between to keep up with the swift comedic current of the show. It evokes the typical Kiwi do it yourself attitude and makes it feel like you are watching the film through the lens of a New Zealander.

The quick-witted actors integrate many quintessentially Palmy and New Zealand references, a tribute to the actors’ backgrounds in improv and comedic theatre; and while it encompasses the full original Titanic story, which is internationally recognised, it feels local and tailored to the audience. Which hangover cure spot do Rose and Jack end up at after their rendezvous until 2am? Is your NZ Post parcel late because it is stuck in the hold of the Titanic? Which character has a flash house in Aokautere? Come along and find out.

The actors’ ability to adapt shines even with some opening night mishaps, whether it is the DIY face falling of the broom, saved by the line “her face was due for a lift anyway,” or a comedic stage slap when one of the volunteers for the door scene asks how much Rose weighs. The actors adapt without missing a beat to every prompt and their rapport and quips to each other are almost as funny as the script itself. It is deeply personalised, urgent and ephemeral; I can tell they are having fun with it.

As the film they are spoofing came out in 1997, the performance has a backdrop of 90s banger hits that often get the audience singing along. Darlene’s talents as a professional singer are clear as she takes on these songs, performing them in character and typically unexpected ways. Her ability to change her voice while still being vocally impressive provides an extra comedic element to the melodramatic scenes taking place on stage. Each actor characterises their many roles in dynamic ways, through accents, physicality and movement, though Darlene’s extra ability to do this musically is a standout.

Every so often, the actors say, “Stop, hammer time,” but instead of bursting into the hit 90’s song, ominous music plays, the stage darkens and Lizzie comes forward. Her eyes shine as though she’s sharing a secret … and you’ll just have to come along to find out what that secret is. These moments appeal to the diversity of the audience, providing an element of education and critical thinking, and drawing in comedy buffs and conspiracy theorists alike.

The game show style interaction develops tension through the show, and it is inclusive of all levels of confidence. There is a spectrum of audience involvement, allowing everyone to get on board with what they feel comfortable with, whether it is answering questions with a raised hand, calling out prompts or getting on stage as a volunteer. It is also made clear that if the thought of getting involved “makes your sphincter clench,” the audience member simply has to make a cross with their arms and the focus will move on to the next willing participant.

There is a tie for the winning team, decided by a volunteer from the door scene who happens to be having a birthday. When it is announced that steerage wins, cheers erupt from my fellow audience members, and we feel a camaraderie among us that was not as present when we took our seats.

It’s hard to take notes in a show that is so involved, which is a sign of a thoroughly engrossing experience. I feel like my perspective as a New Zealander interpreting a widely recognised film is understood and reflected in the choices made to present this show; I feel seen. I am elated and excited when it is announced the show isn’t quite over until Darlene has finished her fast-rapping rendition of ‘Can’t Get Enough’, including the audience one last time by holding the microphone for them to sing along. I feel like I am a part of something, like I am laughing with friends and like I am a part of a shared experience, and I can’t get enough, can’t get enough, can’t get enough, no.

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This rollicking vaudeville type approach to the story of the Titanic is a fantastic, noisy night out. It is a great piece of escapism. Created and performed by Dan Pengelly, Lizzie Tollemache and Darlene Mohekey, the jokes and gags keep rolling at speed, interspersed with 80s and 90s song and dance numbers – everything from Gloria Gaynor to rap. Of course it includes the all singing, all tapping, ‘Good Ship Lollipop’, as any ship-based comedy must. 

The audience are invited to be involved in the antics. Divided into first and second class and steerage, these audience sections are pitted against each other to win points for the loudest cheering and correct answers. Did you know that R.M.S. meant Royal Mail Ship? The audience/passengers win bonus points for the first to find all the bingo answers from the story – did you see the pelvic thrust or the hand on the car window? Hilariously the choice of the front two rows to be first class on this night is based on a number of women wearing pearls in those rows.

Dan, Lizzie and Darlene work closely and dialogue bounces from one to the next, at a very fast pace. The jokes are ‘Titanical’, political and local, or have plenty of inuendo and naughtiness. There are several references to the increasing poverty of artists in New Zealand. The current Centrepoint fundraising to improve the theatre is also promoted.

The three performers clearly creatively feed off each other to come up with weird and wonderful interpretations of characters and things. Rose’s mother is a broom, a cleaning agent is another character and as for the iceberg… well come along and find out what that ‘pièce de résistance’is.

Costumes are nautical and cheeky. The set design (Chris Peddington) is simple but clever and allows full, close-up expression of the famous romantic scene at the bow. Live piano music is provided, with character, by Graham Johnston.

Cameron’s 1997 film is a 3 hour and 14 minute titan of a story. This 90 minute version condenses the core parts of the story and adds hilarious extra asides. But they still manage light and shade. The class system is exposed for its domination and pomposity. The true hard facts of the Titanic disaster are revealed. And they do it all in 1 hour 29 minutes and 54 seconds to be precise.

The Complete Voyage of the R.M.S. Titanic in 90 minutes is on until 12 April. Go along to have a great night out, a good laugh, get caught up in the theatre of it in nice ways and support our New Zealand theatre and Centrepoint.

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